Following the death of his grandfather, young Alex Mackay discovers a mysterious photograph in the old man's belongings that sets him on an adventure like no other—where dreams and reality merge, family secrets are laid bare, and lives are irrevocably altered.
Cameron Stewart's Sin Titulo is David Lynch distilled in two dimensions, even moreso than Lynch's own The Angriest Dog in the World, which coincidentally was also once published by Dark Horse through its Cheval Noir anthology. Much like Lynch's Mulholland Drive, by the time the rug-pulling occurs in Sin Titulo's case (to be clear, Sin Titulo's rug-pull isn't so much a "twist" as it is a "reveal and reset," but it still manages to feel true to the Lynchian trope), Stewart has told us something profound about all the flawed definitions of "man" that were applied to our fathers, about how our fathers in turn put their sons on the same paths to flawed manhood, and about the ways in which art can absolve us of these flaws. More than that, he has challenged us, through such spare and alarming imagery and such evocative text, and perhaps that alone is worth the price of admission. Read Full Review
Sin Titulo is an anti-mystery, more interested in showing you each piece and letting you figure out its shape, its order, and if it should fit with the other pieces at all. The very Lynchian beaches and boogeymen of this story set in stone the main mind****ing rule in the narrative thread: the things that Alex perceives to be real might not be real at all. Read Full Review
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